MILES DAVIS — Live Around the World (review)

MILES DAVIS — Live Around the World album cover

Live album · 1996 · Fusion

4.5/5 · 2013-10-20
js

After his much publicized comeback in the early 80s, it seems it took a while for Miles to figure out what direction he wanted to take with his music. His initial efforts saw him more or less playing fusion that was similar to what he was playing in the mid-70s, a bit cleaned up, brightened up and slicked up for the 80s, but otherwise not hugely different. Subsequent albums throughout the 80s saw him experimenting with different ideas, but none of these albums seemed to present a strong coherent statement. With “Live Around the World”, it becomes apparent that Miles did have a strong vision for his music in concert, it just did not come together on album until “Amandala”, possibly his best studio album since his comeback and released just a few years before he passed away. Its no surprise then that many of the tunes on “Live Around the World” did show up on “Amandala”. Elsewhere on “Live” we get tunes from some of Miles’ other 80s albums, but everything sounds so much more focused and energetic on these live versions.

Miles had been wanting to modernize his music, and this live set shows some of the many influences he was turning to; Michael Jackson’s artsy pop, Cameo’s techno funk, zoukous music from Nigeria, Weather Report’s world fusion, the go-go beat from Washington DC and lots of Prince. All of these different strains blend perfectly on here as the songs flow into each other creating an artsy electro-funk symphony full of imaginative arrangements and great solos. Pop music sits side by side with highbrow 3rd stream passages and street corner groove, all tied together with a modern sophisticated urban tonal language.

The playing on here is truly inspired and the ensemble work is very careful and sensitive on a level not heard from Miles’ groups since the quiet passages on “Agharta” in the mid-70s. It seems every one is very careful not to waste a single note, everything in its place with attention to detail. One of the best solos comes at the end of “Human Nature” when Kenny Garret digs into a simple repeating riff and builds a monster solo, one of the strongest and most emotional of his brilliant career. Miles’ quiet ride on “Time After Time” is a very moving swan song, his goodbye to the world. I saw the tour that these cuts come from and there was something very emotional in the air. Don’t ask me how I knew, and how everyone else who had followed him a long time seemed to know, but you could tell that these were going to be Davis’ last shows.

I think a lot of people could listen to this CD and hear a decent modern fusion album, but not much more than that. To a long time fan though, this is a very special set of performances. Its great to hear Miles relaxed and happy, having fun with his young band, and its also great to hear them learning so much. Every little click on a percussion instrument during a quiet part, or a simple extra tone color on a digital synth lets you know that these musicians have learned a lifetime about paying attention to your fellow performers.